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Track(s) taken from CKD413

Sonata da camera in G major 'Ciaccona', Op 2 No 12

composer
Ciaccona: Largo

The Avison Ensemble
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Recording details: January 2012
St George's Church, Chesterton, Cambridge, United Kingdom
Produced by Philip Hobbs
Engineered by Philip Hobbs & Robert Cammidge
Release date: September 2013
Total duration: 3 minutes 38 seconds

Cover artwork: Angel at La Recoleta Cemetary in Buenos Aires by Neale Cousland
 
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Reviews

'The Avison Ensemble continue their stunning Corelli anniversary recording project with two of the less-often-recorded opuses, the 'sonate da camera'. These performances occupy fresh ground—intimately styled and seemingly less obviously inspired by public performance than previous recordings … Pavlo Beznosiuk and The Avison Ensemble have clearly given much thought and attention to their performances: beautifully understated, and allowing the music to speak for itself. The tempi are relaxed without compromising a sense of line, imparting instead a breadth that suggests to us an expression of Corelli's life and times … we look forward to the imminent release of Opp 1 and 3' (Gramophone)» More

'The [Avison Ensemble's] series so far has produced fine accounts of the Concerti Grossi Op 6 and the Violin Sonatas Op 5. The latest two-disc set features the Trio Sonata collections Opp 2 and 4, kaleidoscopic works that mingle vigorous and elegant dances, hypnotic variations like the ‘Ciaconna' that concludes the Op 2 set, ornamental slow movements, capricious Allegros and more serious fugal writing … the Avison Ensemble captures their essence in graceful, finely controlled performances—by turns lyrical, fleet, playful, imbued with an effortless style that eschews mannerisms and fireworks but rather lets the music speak for itself. The string sound is silky and clean; the ensemble neat and subtly articulated' (BBC Music Magazine)» More

'The virtues of the Avison group are once again on full display here; the players achieve a sparkling liveliness in the fast movements that few other groups seem to manage with period strings' (AllMusic, USA)» More

In 1684 Corelli took over the responsibility of providing the orchestra for the powerful Cardinal Pamphili; two years later he was officially engaged as the Cardinal’s master of music and took up residence in his palace. The Op 2 set of twelve trio sonatas, of the ‘da camera’ variety, were probably performed at the Sunday ‘academies’ held there. Corelli, his favourite violin pupil Matteo Fornari, and the cellist G B Lulier (also a composer) regularly performed with the harpsichordist Pasquini and as concertino soloists with the Cardinal’s orchestra. The last of the set, Op 2 No 12, is a Ciacona (‘Ciaccona’ on the score), more or less a set of variations over a ground based on a familiar descending four-note figure.

from notes by Tim Crawford © 1987

En 1684, Corelli se vit confier l’orchestre du puissant cardinal Pamphili qui, deux ans plus tard, l’engagea officiellement comme maître de musique, l’installant dans son palais. Les douze sonates «da camera» de l’op. 2 furent probablement exécutées lors des fameuses «académies» dominicales qui s’y déroulaient. Corelli, son élève de violon préféré Matteo Fornari et le violoncelliste espagnol G. B. Lulier (également compositeur) jouaient régulièrement avec le claveciniste Pasquini et comme solistes de concertino, avec l’orchestre du cardinal. Le corpus se clôt sur une Ciacona (op. 2 no 12, écrite «Ciaccona» sur la partition), grosso modo une série de variations sur une basse répétée fondée sur une familière figure de quatre notes descendante.

extrait des notes rédigées par Tim Crawford © 1987
Français: Hypérion

1684 übernahm Corelli die Verantwortung für die Aufstellung des Orchesters für den einflussreichen Kardinal Pamphili. Zwei Jahre darauf wurde Corelli offiziell zum Musikdirektor des Kardinals ernannt und zog in dessen Palazzo ein. Die zwölf Triosonaten op. 2, die zum Kammersonatentyp gehören, wurden wahrscheinlich in den „Sonntagsakademien“ aufgeführt, die dort stattfanden. Corelli, sein Lieblingsviolinschüler Matteo Fornari und der Cellist G. B. Lulier (auch ein Komponist) traten häufig zusammen mit dem Cembalospieler Pasquini wie auch als Concertinosolisten im Orchester des Kardinals auf. Die letzte Triosonate aus der Sammlung, op. 2 Nr. 12, ist eine Ciacona („Ciaccona“ in der Partitur) und bildet mehr oder weniger eine Variationsreihe über einen Basso ostinato, der auf einem bekannten absteigenden Viertonmotiv beruht.

aus dem Begleittext von Tim Crawford © 1987
Deutsch: Elke Hockings

Other albums featuring this work

Corelli: La Folia & other works
CDH55240Helios (Hyperion's budget label)